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S T A T I 





2 O OO 

Dear Diary 

Ellen G.K. Rubin 

Scarsdale, New York 

Dear Diary; 

The cliche, "Time marches on" rings so true, and it's 
miraculous how soon a date one never thought would 
arrive, does. It's been two years since the last Movable 
Book Society convention and almost three since the 
inception of the exhibition, "Brooklyn Pops Up! The 
History and Art of the Movable Book." Tuesday's opening 
of the exhibition seemed to be a great success (despite my 
not having other openings to compare it to). Robert 
Sabuda, Ann Montanaro and I (the curators) were smiling 
proudly the whole time. The best surprise was the 
appearance of Ken Wilson-Max who just showed up from 
London, an angel with dreadlocks. Now it's time to loosen 
up a little and welcome the people who were our target 
audience for the exhibition, members of the Movable Book 
Society. I was so euphoric but so intent on my role in all 
of this, Dear Diary, that 1 apologize in advance for any 
omissions I commit. 

6:00 p.m. Thursday, September 21, 2000 
Warwick Hotel/New York City 
Dear Diary, 

People are slow to arrive but the air is instantly convivial. 
Like a big family everyone immediately falls into old 
patterns with the "Show 'n' Tell" coming out and the 
opening lines, "Did you see the pop-up book with . . .?" Of 
course, Andy Baron, now with wife Paula patiently in the 
wings, is spreading out his amazing books, this time 
Percy 's Park, a panorama with multiple movables. We are 
Wowed! A small group of us keep talking and sharing 
news until the waiters have remade every table but ours. 
It's late. Unable to break up, we reconvene in Lin 
Sasman's room. Feeling like The Three Bears walking in 
on Goldilocks, Lin's roommate, Laura Hopeman, is 
already in bed but regally holds court from her "throne." 
More "Show 'n' Tell." We can't seem to help ourselves. 

9:00 a.m. Friday, September 22, 

Dear Diary: 

This is our first full day and despite sleepy, jet-lagged 

eyes, we are ready to begin. Coffee will not be served until 

the first break at 10 o'clock and there is a minor frantic 

search for it. Not to worry. This is the Big Apple and the 

City provides. Sitting in the waiting area is Carla Dijs 
poring over . . . book contracts? One could pick her out of 
the crowd as the European artist she is with her black, 
thick-rimmed glasses beneath black spiky hair. She might 
have made the short walk to the hotel from the Art 
Students' League on West 57th Street. Kees (pronounced, 
case) Moerbeek, her husband, is not yet in evidence. The 
U.S. is well represented with conventioneers (no we 
weren't wearing funny hats!) from Washington, San 
Diego, Santa Fe, Detroit, and Connecticut. 

Ann Montanaro, Ellen Rubin, Robert Sabuda 

Ann Montanaro calls us to order, warmly welcomes us, 
and turns the program over to Roy Dicks, who had 
graciously agreed to put together the convention's 
program. Roy, with his friendly but no-nonsense approach. 
is determined to stick to the time-line of the program and 
introduces Adie Pena to discuss his collection of pop-ups 
with a musical theme. Those of us who have met Adie 
before know of his extensive collection lovingly housed in 
what he calls, The Museo Mobiblio. His slide show, he 
announces, will be "Collector Friendly," meaning he will 
make us drool but will also provide buckets. He speaks of 
his love of music, hence, his partiality to pop-ups with 
musical themes. S. Louis Giraud and Kubasta, 

Continued on page 14 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The annual 
membership fee for The Society is $20.00. For more 
information contact Ann Montanaro, The Movable 
Book Society, P.O. Box 1 1654, New Brunswick, New 
Jersey 08906. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is February 15. 

An Interview with David Carter: 
Part Two of Three 

Kate Sterling 

Corte Madera, California 

K: You mean they were working on each others ideas? 

D: Yes. They would recut someone else's ideas. If what 
John did was right, and it worked, he would keep it like 
that. But if it wasn't quite what Jim thought was best, 
then he would move it around to somebody. Once 1 had 
an understanding of what was happening with the 
refining, he started giving me some of that work too. So 
there are many books where I did a little bit of paper 
engineering here and something there. And it's possible 
that my name was on one of those books because what 
Jim would do then is say, "Well if John got his name on 
the last book, then Dave gets his name on this book." 
That's because everyone was sort of working on it. But 
he didn't always do it that way. Sometimes he would 
just give the project to John or give it to Tor or Keith 
and that person would do it. All these different things 
were happening. 1 may have had my name on a book 
before that, but Goodnight Moon Room was the first 
book where John Strejan had done the main pop-up in 
a rough form and then Jim said the rest of the book is 
yours. You take it. You are the art director, the 

K: That must have been pretty thrilling. 

D: 1 loved it. 

K: I have this theory about John Strejan. Whenever I 
write book descriptions, I have trouble not saying 
genius before his name. And I think it is because I 
think there is something different about his brain. I 
think if they took his brain out of his head, like 
Einstein's, and looked at it, the mechanical, spatial 
part would be overdeveloped. 

D: Well, what would be happening is his brain would 
be opening and closing, etc. (David is holding his 
hands together at the heel of the palm and flapping his 
hands to show how Strejan's brain is hinged and opens 
and closes.) If you asked me who I thought was the best 
down right paper engineer, I would say John. Jim Diaz 
is close behind and Tor and lb. But lb (Penick) is not 
around anymore. So far as doing mechanical paper 
engineering, really creating, John Strejan is my choice. 

K: I love Strejan's Skyscraper Going Up. 

D: I illustrated Skyscraper Going Up. 





K: But your name is not on it! 

D: I know. It's because I was on staff at Intervisual. 
Now I know why I said How to Be a Ocean Scientist 
was my first illustrated book. That was the first book I 
received a royalty on and I still get a royalty check for 
it. It's my favorite royalty — about $75. Skyscraper 
Going Up was done when I was still on staff at 
Intervisual. I never signed a contract at Intervisual, but 
it was pretty well known that you were not supposed to 
do outside work. But I took the job anyway. The only 
reference to my name in the book is on an illustration 
on the inside front cover where it says "SKYSCRAPER 
Developed by Vicky Cobbs, Engineer John Strejan, 
Architect Andrew Gill." My mother's maiden's name is 
Gill and my middle name is Andrew. So that proves it. 
This was a fun book. On this beam (Dave has the book 
open, referring to a pop-up), I put in all these people's 
names who were working at Intervisual. Sandy Tiller 
was one of the people at Intervisual, Joel is a friend of 
mine, Linda is Linda Zuckerman, Gloria is Jim Diaz' 
wife, Kim is Noelle. Kim is her middle name. I didn't 
want to make continued on page 10 

Now Showing 
at a Bookstore Near You! 

Adie C. Pena 

Makati City, the Philippines 

If the term "movie" is short for "moving pictures," 
then Little Simon's latest "Classic Collectihle Pop-Up" 
offering isn"t a book. It's a movie! 

And what better way 
to celebrate the 1 00 ,h 
anniversary of the 
original publication of L. 
Frank Baum's The 
Wonderful Wizard of Oz. 
With seven stunning 
spreads plus numerous 
flaps and booklets 
(vignettes?) containing 
over two dozen additional pop-ups (26! count 'em!), 
Robert Sabuda's newest movable masterpiece (ISBN 
0-689-81751-7, $24.95) is bound to elicit "oos" and 
"ahs" even from the most jaded Movable Book Society 

As an 8-year old boy in rural Michigan, Mr. Sabuda 
made his first pop-up book for his parents. Constructed 
from discarded Ford Motor Company manila folders, 
his first attempt at paper-engineering, The Wizard of 
Oz, wasn't exactly a success. After failing to get the 
"Cyclone" to spin, he gave up the whole idea for almost 
twenty years. Well time (and talent!) surely changes 
everything. With two well-deserved Meggendorfer 
Prizes on his mantle, Mr. Sabuda certainly makes the 
business of a spinning "Cyclone" (and a tumbling "Jack 
and Jill" in The Movable Mother Goose) look 
effortlessly simple. 

Using rainbow -colored handcut linoleum block print 
illustrations (in the style of W. W. Denslow), Mr. 
Sabuda jumpstarts the story with a tensioned 
thread-and-dowel "Cyclone" spectacular (spread # 1 in 
tones of violet, indigo and blue), erects the "Emerald 
City" right smack in the middle of the book (spread # 4 
in gorgeous green with "removable" magic spectacles), 
and concludes with the convivial "Quadlings" (spread 
# 7 in heart-warming hues of yellow, orange and red). 
Shades of Bernardo Bertolucci's and Vittorio Storaro's 
prismatically- segmented "The Last Emperor"! 

And just like a blockbuster film, it has its share of 
eye-popping "special effects," e.g., the melting Wicked 
Witch (spread # 5, flap # 3). And regular optical stuff, 
such as "dissolves," e.g., the drowsy protagonists 
blending onto the blooming "Poppy Field" (spread # 3, 
flap # 3). One technical letdown though. The "Hot Air 

Balloon" (spread # 6) doesn't "inflate" completely, 
resulting in a thaumatrope-like contraption instead of 
the desired effect. Nevertheless, this spread contains my 
favorite "scene" in the movie.. .er, book. As the screen 
comes crashing down (left-side flap # 1) revealing the 
Great and Terrible Wizard to be just a "common man." 
the word OZ literally turns into a NO. A very clever 
touch so reminiscent of Scott Kim's "calligraphic 
cartwheels." Anyway, enough already before I give 
away the (happy) ending. *grin* 

So grab yourself a copy. Find yourself a comfortable 
seat. Turn up the lights. And let the "moving pictures" 
begin. It's ooh-some... aah-some... Oz-some! 

Organize Yourself! 

Ellen G.K. Rubin 

Many attendees at the recent MBS convention asked 
me how I keep track of my collection. I have for the 
past 10 years used a proprietary software called 
"Organize! Your Collection in Windows" (OYC) This 
software geared for all kinds of collections allows the 
user to create twenty fields for information and an 
additional field for multi-media which can be used for 
sound or graphics. (I have not yet used this field. But 
think of scanning in the cover of a Cinderella to 
distinguish it from the many other Cinderellas.) 
Among my twenty fields are paper engineer, series, cost 
(keeps track of what you spend), and physical 
description of condition. There is a place to keep 
lengthy notes which is searchable. Reports can be 
designed and printed using any or all of the fields or 
exported into an ASCII file or database file. Best of all 
for a computer novice like me is that tech support is 
provided by Steve Hudgik who created the software. 
Working in Oregon, he has always been available 
picking up the phone himself. In general, I have found 
this system of cataloging user friendly and invaluable 
for keeping track of my books and, more importantly, 
for searching for information. As of now there is no 
Mac edition available. I will be switching to a Mac soon 
and if all the Mac users out there request this format, 
maybe we can convince Steve there is a market for this 
format. PLEASE ASK for a MAC format! I installed 
my version with a floppy disc - $19.95 (seems ancient 
already) but feel free to investigate the CD-ROM 
version - $59.95. There may be lots of new things 
available from Homecraft but I just continue to use my 
original software purchasing up-dates when they come 
available. For further information contact: or email 
or write to: PSG-Homecraft Software, P.O. Box 974. 
Tualatin, OR 97062. International contacts are given on 
the website. Happy cataloging! 

The Young Lady Pop and Mrs. Up 

Theo Gielen 
The Netherlands 

In 1980 Jan Pierikowski received the Kate 
Greenaway Award for his book The Haunted House. 
and now for the second time in 
history a prestigious children's 
book prize has been awarded to 
a pop-up book. On Thursday 
October 1 9, during the Frankfurt 
Bookfair, the important 
Deutsche Jugendliteraturpreis 
2000 (German Children's Book 
Award) was given to Mrs. Antje 
von Stemm for her Frdtdein Pop 
and Mrs Up und ihre grosse 
Reise durchs Papierland (The 
young lady Pop and Mrs. Up and 
their big journey through the land of paper), a do-it- 
yourself pop-up book published by Rowohlt, fall 1999. 

We had the opportunity to talk with Mrs. Von 
Stemm at the Fair at the stand of her publisher the day 
after the award, shortly before she returned to Hamburg 
where she lives. The very happy winner - a spontaneous 
young woman with a glass of champagne in one hand 
and a "Brezel," a typical German salty titbit, in the 
other - told us she had not even hoped to be chosen for 
the prize. Though her book was on the shortlist it had 
never happened that a pop-up book, and more a German 
debut, was honored with this award. It was therefore a 
great surprise for her to receive the sculpture ("an ugly 
thing") and the Dm 15.000,- that complete the prize 
given by the German state. Even the day after she had 
serious problems believing she had won and we had to 
ask her to sign our copy of her book not only with her 
signature but also with a special "Winner of the 
Deutsche Jugendliteraturpreis." She remarked, "'Now I 
see it written down, I start to believe. . . " 

Fraulein Pop and Mrs. Up tells the story of the 
young lady Pop: a short and rather rounded paper doll, 
liberated by her friend, the scissors, from the paper on 
which she was drawn. She tells in a diary about the ten 
days in July in which she was left alone by the humans 
of the apartment when they left for their holidays. She 
first seeks for her friend Mrs. Up who appears to have 
landed in the waste-paper basket and has to be put 
together with some paper fasteners. Leaving a message 
for the humans in an envelope, they both go through a 
paper door in the page for a journey in the wide, wide 
(paper) world. They first come in a waste land of only 
white paper, but using their color pencils they create for 
themselves a jungle where they have some anxious 

moments when confronted with a wide-mouthed tiger. 
They then lift off the pages on a kite and have - while 
made of paper - a dangerous adventure in the water and 
have to hang in the sun to dry again. They see a real 
fata morgana in the desert but exhausted from the 
warmth they draw their own arctic surroundings. 
Finally they come from their igloo safely home again 
and tell the story of their adventures to the friends from 
the drawing-table. While still celebrating their coming 
home with a big feast, they hear the key in the door 
announcing the return of the humans who live in the 

The last two pages include an interview with Mrs. 
Von Stemm and the two main characters of the book, 
Fraulein Pop and Mrs. Up - completed with a picture of 
the three -in which they tell something about the "pop- 
up book" phenomenon and its history. A nice and 
original end. 

Within this story the reader has to help the moving 
and pop-up parts to function. Thirty two (and two 
halves) of the 112 pages of the book have to be 
separated from the bookblock - they have been pre- 
perforated - to be cut, folded, put together and pasted 
in. The result of all this is a nice clothbound pop-up 
book with movable parts. It all starts with simple 
techniques, the V- folded Young Lady Pop, a paper doll 
with moving limbs, a letter in an envelope, a cut-out 
door and spirals to suggest the jungle. The second part 
of the book brings more complexe paper constructions: 
a rounding tent, a roaring tiger with a opening and 
closing mouth, a kite lifting off by opening the pages, 
the charaters hanging on a string before a pop-up sun, 
a pull-tab fata morgana and finally a wheel- 
construction between two pages showing all the 
adventures of the two girls through an aperture in one 
page of their diary to their friends of the drawing-table. 

The book was Mrs. Von Stemm's 1999 project to 
finish her studies at the Hamburger Fachhochschule fur 
Gestaltung (Design 
Academy). During 
her studies she 
planned a short 
stay at White Heat, 
in Santa Fe, to learn 
learn paper 
engineering from the 
owner of the firm, the 
well-known James . 
Diaz. Both were so 
pleased with their 
encounter that the Antje von Stemm 

short stav «rew to Inteviews the Characters 

a one and a half year cooperation (1995-1996) and 
resulted in no less than three pop-up books: Space- 
Detectives (Chronicle Books, 1996), Nightmare Hotel 
(Envision, l997)and/V7g/2?M£7n?Ca/t?(Envision, 1998). 
All three came in a French edition from Edition Seuil 
Jeuness in Paris and the last two also had a Japanese 
version. But, strikingly, none of them was published in 
Germany. Once the pictures are seen this will not be a 
surprise: both the style of her artwork and her humor 
are very un-German. The pictures look like collages and 
don't fear very white backgrounds. They are best 
characterized as "quirky" as Robert Sabuda did when 
reviewing Nightmare Hotel in Movable Stationery. By 
this they better match the highly collectable modern 
French picture books which include all kinds of 
pictorial and technical 
experiments; especially the 
catalog of the aforementioned 
Editions Seuil Jeunesse, 
showing marvelous 
specimens of this modern style 
of illustrating children's 
picture books. 

Back in Germany after her 
White Heat period it appeared 
difficult for her, so tells Mrs. 
Von Stemm, to find a 
publisher for her kind of art. 
German publishers prefer 
teddy bears, rabbits and sweet Christmas scenes for 
their books for the young child. Finally, however, she 
found the right chemistry with the people of the 
children's book company of the big but slightly easy- 
going publishing house of Rowohlt. There was just one 
problem, the publishing house had not yet done any 
pop-up books and lacked the infrastructure needed to 
produce such books. The problem was easily solved by 
doing a pop-up book the reader himself has to rig up! A 
two-page inventory of the aids and appliances at the 
front of the book, and clear instructions throughout the 
rest of the pages prove very helpful. The pictograms 
used for the instruction are functional and make it even 
easy practicable for those who cannot read the 
instructions in German! 

Another problem the publisher confronted was the 
size of the manuscript. As mentioned, Frdulein Pop und 
Mrs. Up has 1 12 pages, many more than a traditional 
pop-up book. But these were only half of the pages of 
the original manuscript! As a result, the publisher will 
publish the other half of the book next spring as a 
sequel to the first: Frdulein Pop und Mrs. Up und das 
Abenteuer Liebe (The Young Lady Pop and Mrs. Up 
and the Love Adventure) in which Mrs. Up falls in love 

and Fraulein Pop has to help her on the unknown but 
dangerous path of love. 

Meanwhile the book has been reprinted for the 
coming Christmas sales and has now 15,000 copies in 
print for Germany only. The French edition 
Mademoiselle Pop et Madame (/pwill comethismonth 
at Edition Seuil Jeunesse in Paris (ISBN 2-02-043656- 
6). The publisher informed us that the prize proves to 
be not only prestigous but also very influential in 
creating a demand from the public. After the prize was 
given to the book, booksellers ordered a lot of extra 
copies and a reprint is planned for early 2001. 
Publishers from several countries showed interest in 
doing foreign-language editions, amongst them Beyond 
Words in the USA (until now, however, without signed 

Aside from her pop-up books Mrs. Von Stemm also 
published some related items during her studies: in 
1 998 she did " 1 2 Selbstbastel Pop-Up-Postkarten" (do- 
it-yourself pop-up postcards) and in 1999 a set of 
"Tuten-Postkarten," both with the publishers Inkognito 
in Berlin. Quite a big production altogether in five 

After the golden age of movable books with such 
German paper engineers as Lothar Meggendorfer, 
Ernest Nister and Raphael Tuck, now Germany has 
produced another potential top paper engineer of the 
beloved pop-up artwork in the person of Mrs. Antje von 
Stemm. We hope we will see more of her beautiful, out- 
of-the-ordinary, artwork (without teddies, rabbits and 
mangers) in must-have books. 
ify«*^7-''* , *"j*'MJ But for now, be sure to get at 
ISBwftpS^R^g least two copies of her prize 
winning do-it-yourself book 
(one to make, one to collect) 
and its sequel! It is easy to 
order from book sellers such as 
www. am azon . de. 

Antje von Stemm, Frdulein 
Pop und Mrs. Up und ihre 
Reise durchs Papierland. 
Reinbek bei Hamburg, Rowohlt 
Taschenbuch Verlag GmbH, 
1999. ISBN 3-499^-20963-2. 
112 pages clothbound. (Series:) Rotfuchs, nr. 20963. 
Dm 24.90. 

Antje von Stemm, Frdulein Pop und Mrs. Up und 
das Abenteuer Liebe. Reinbek bei Hamburg, Rowohlt 
Taschenbuch Verlag GmbH, 2000. ISBN 3-499-2 1 1 44- 
0. I 1 2 pages clothbound. (Series:) Rotfuchs, nr.21144. 
Dm 24.90 (April 2001). 

Pop-up Design - The 90° Pop-Up Continued 

Third in a Series 


Toronto, Ontario, Canada 

In my last article I described how to make a 90° pop- 
up by gluing an image to the background and using a 
glue tab to make it pop up. In this article I will 
continue to discuss the 90° pop-up and describe how to 
make one by cutting and folding a single sheet of paper. 
I will also be discussing a fun little piece of shareware 
called "3D Card Maker" which helps you create your 
own 90° pop-ups. My series of articles can be also be 
viewed online at < bovine. 
designs>. Please drop by and visit. My site includes an 
extensive list of pop-up related links that I'm sure you 
will find interesting. I welcome comments and 

The 90° Cut-and-Fold Pop-up: 

Like the classic 180° pop-up and the 90° pop-up 
described in my previous article, the 90° cut-and-fold 
pop-up is a common pop-up style. It is a favorite for 
publishers of inexpensive pop-up books because there 
are no glue points or loose pieces to deal with resulting 
in reduced production costs. See the illustration below. 
The pop-up is created by die cutting and folding a single 
piece of paper. As with the glued 90° pop-up, the cut- 
and-fold pop-up folds down backwards until it 
disappears when the spread is fully opened. 

90° Cut-and-Fold Pop-Up 

Although the 90° cut and fold pop-up appears much 
simpler than its multi-piece 90° cousin, making your 
own is a little more challenging, but no less effective. 
Again, armed with this article, I encourage you to take 
some time and study the masters. You will quickly 
understand how to create beautiful pop-ups of your own . 

Many of the nicest pop-up books using the 90° pop- 
up technique were produced in Eastern Europe during 
the 1960'sand 1970's. Most of mine come from Russia 
and the former Czechoslovakia. My favorites include 
The Frog Tsarevna(Ma\ysh Publishers, Moscow, 1982) 
and Cervena Karkulka (Little Red Riding Hood) (Vydal 

Orbis 1969). I especially admire the illustrations of 
these books because they are so different from those I 
grew up with in Canada. Although simple, some of 
these books have cleverly designed pull-tabs that help 
bring the story to life. 

These books are made by die-cutting a printed sheet 
and folding the pop-ups into shape. Usually, there are 
no separate pieces or pop-ups glued onto the spread as 
is the case with 1 80° pop-ups. However, many of the 
pop-ups have pull-tabs inserted through slits. The 
major drawback of using the cut and folded 90° 
technique in book form is that readers tend to fully open 
books until the page spread is flat causing the pop-up to 
fold back into the page from which it was cut. If this 
happens, care must be taken to ensure that the pop-ups 
fold up correctly again when the book is closed. If not, 
the pop-ups may crease in the wrong place and forever 
disappear into the page spread, a tragic loss for any 
pop-up enthusiast. 

A company called Pop Shots ( 
has published in excess of 200 cards using the cut and 
fold technique. Subject matter for their cards ranges 
from original designs to licensed images from the 
World Wildlife Fund, Elvis Presley and Disney. If you 
are not familiar with these cards, you should take some 
time and look at their web site. 

Japan's pop-up master, Masahiro Chatani, has also 
published several excellent "how to" books including 
Pop-up Greeting Cards and Pop-up Origamic 
Architecture (both are Ondori Publications). His books 
cover everything from simple pop-ups to highly 
complex multi-layer pop-ups, most of which use the cut 
and fold technique. His books also include full size 
patterns making it easy for anyone to make their own 

Design Parameters: 

Once you have made a few 90° cards as I described 
in my previous article and have grasped the concepts, 
you should have no problems designing your own cut 
and fold pop-ups. For argument sake, I will describe a 
horizontal pop-up, but this technique works equally 
well for vertical layouts. As always, you will require a 
piece of paper for the background and an image to pop 
up. I find that an image cut from a magazine works 
well for your first few attempts. Make sure that the 
image has a flat bottom. 

Do not fold the paper in half as was done in the 
previous articles. Instead, simply mark the center line 
with a pencil. It is a good idea to mark your fold lines 
as dashed lines and your cut lines as solid lines to avoid 

confusion during the cutting process. Place your image 
a small distance "1" below the center line marking. See 
the illustration below. The distance "1" is the distance 
that your image will pop up in front of the background 
when complete. A distance of Vz" (12 mm) to 1" (24 
mm) is a good starting point. The bottom of your image 
should be parallel to the center line and the image tall 
enough to cross the center line. If you place your image 
entirely below the center line, it cannot pop up and is 
sadly destined to remain in its two dimensional world. 
Trace the outline of your image onto the background. 

Sample Image with Template 

Now the tab must be added. The tab can be placed 
anywhere on the image as long as it ends above the 
center line. The tab must be the same length as "1" 
defined above. Both ends of the tab should be parallel 
to the center line, but the tab itself does not need to be 
rectangular. Tabs are often designed to blend into the 
background or as part of the image. Remember to use 
dashed lines to indicate your folds. Once the tab is 
drawn, the cutting can begin. 

Using an Exacto knife, cut along the solid lines you 
have drawn. These will generally be the vertical lines 
on your template and be the outside of the image and 
the tabs. Using a dull point (like a large darning needle 
or dried-up ball point pen) and a ruler, score the fold 
lines. Scoring folds is important to obtain crisp, clean 
folds, especially when folding across the paper grain. 
If you do not understand what I mean by paper grain, 
don't worry. It is not important now. I will explain this 
in a future article. 





. - 1 

technique, but note that if you are using an image in the 
back to pull up a front one, the length of your tab will 
be equal to the distance between the images. This is 
illustrated by "x" in the image above. As can be seen 
from my simple "A" and "LA" examples, adding 
additional layers to cut-and-fold pop-ups quickly adds 
complexity and folding challenges. 

Both of my examples use boxy shapes. I have 
chosen these for simplicity of illustration. Curved 
edges can also be incorporated into your designs, but 
remember, the image base and the ends of the tabs must 
be parallel to the center line. Curves are difficult to 

3D Card Maker 

3D Card Maker is a shareware program that assists 
in designing 90° cut-and-fold pop-up cards like those 
described in this article. I first stumbled across this 
program almost 2 years ago when I was researching 
links for my web site. At that time, 3D Card Maker 
was only available in Japanese. Author Jun Mitani has 
since released an English version of the software. 

The concept is quite simple. Working in 3D, a 
pattern is built up like Lego blocks using a square 
cursor. The cursor is moved using the arrow keys and 
the blocks are built by pressing the space bar. The size 
of the cursor can be changed to create different sized 
building blocks. The pop-up image can be rotated and 
viewed form all angles by using the mouse. See the 
screen print below. 


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Two Layer Image with Template 

Additional layers can be added using the same 

3D Card Maker 

Once complete, the image can be checked for errors 
by the click of a button. Finally, You can print the 
template for your pop-up image to a printer or export it 
to other programs in a few different file formats. Once 
printed, all you have to do is cut and fold. 

The visual interface is good and the program is 
simple to use. There are no disabled features in the 
demo, but the size of the cursor is restricted to medium 
and large blocks. Paying the $20 registration fee gives 
access to all cursor sizes allowing more the creation of 
refined pop-ups. The only drawback of the program is 
that it does not allow the use of curved shapes. If you 
are interested in creating "Escheresque" cards with 
staircases leading nowhere, this is the program for you! 

Stay tuned to Movable Stationery for my next 
article. In it I will discuss how carousel pop-ups are 

Digging It: 
Researching Emma C. McKean 

Adie C. Pena 

Makati City, the Philippines 

My frustration (brought about by the lack of info on 
movable book artists from the 40s and 50s) prompted me 
to do the Emma C. McKean article. I wish I could give 
a scientific (and scholarly?) explanation regarding my 
"research process," but it's nothing more than a little 
perseverance AND a lot of happenstance, serendipity 
and luck. (Futile Exercise: I contacted some McKeans I 
found in a telephone directory.) 

Adie at work on a repair before returning to his research 

My "good sources" appeared (surfaced?) after I 
wrote a letter to the Rochester Museum (per Justin G. 
Schiller's suggestion) inquiring about Miss McKean. 
They couldn't provide any new information that I didn't 
know yet BUT they sent me photocopies (of select pages) 
from a self-published paper doll "bibliography" by a 
Mary Young. I wrote Miss Young (1 found her 1977 
home address somewhere in the fine print) but she never 
replied. (Since it was a 21 -year old address then, it 
makes one wonder if Mary still lives there or, for that 
matter, if she's still with us. The envelope, however. 

didn't find its way back to me with the usual "Return 
To Sender" stamp -- which meant it was received by 
someone in Kettering, Ohio.) 

With just the titles of Emma's paper toys listed in 
the photocopies, I did some "cyberstalking," (1 wasn't 
lying when 1 said during my talk in New York that 
eBay was a wonderful source) e.g., I "monitored" the 
paper doll auctions and "met" a diehard collector 
named Betsy Slap who eventually shared some 
information with me — which led me to other sources. 
Since then, it was one open door after another. 

Needless to say, a few of my new found contacts 
weren't as generous or as helpful. I did "meet" a 
number of people, particularly sellers *sigh*, who 
wouldn't give me their time of day UNLESS I bought 
the item from them! (Yep. pay before play.) Which 
meant I had to occasionally dig deep into my frayed 
pocket to buy stuff that I didn't want to own — except 
for "research" purposes. (Key Learning: Fellow 
collectors are, most often than not. more 
accommodating than sellers.) 

I likewise wrote to the publishing companies that 
Emma worked for. I easily found out that most of them 
were no longer around — either they'd gone under or 
were acquired by another company, e.g. McLoughlin 
Bros by Milton Bradley or Whitman by Western (this 
was all happening way before the word "megamerger" 
was coined!). Which meant files (original art, 
documents, etc.) were lost during the turnover. Very 
disheartening and quite sad. Imagine all those pieces of 
historic ephemera — that we collectors would kill for — 
trashed, shredded, incinerated! My "research" became 
somewhat easier when a pile from the McLoughlin 
Archives came into my possession — which actually 
cost me a small fortune but was definitely all worth it. 

The "philosophy." if you can call it that, behind 
my research "technique" is: "Dig Another Hole In A 
Different Spot." (If one keeps digging the same hole, 
one ends up with the same dirt.) After fruitlessly 
digging "movable book" holes, I decided to work on 
other ones, i.e. "coloring book," "flat book," or "paper 
doll," which unearthed new and relevant information. 
Example: the "paper doll" hole brought to my attention 
Miss McKean "s other movable paper toys. Or the 
"coloring book" hole led me to the sad news that she 
had passed away. 

That, in essence, is how I did the research for the 
Emma article - plus a little deductive (detective?) 
work. Given the fact that I (yes, you can call me 
"Laptop Sherlock") am here in the Philippines. 

everything was done from a distance, pretty much via 
'Yemote control." Oh, the wonders of the Web, the 
reliability of good oP snailmail -- and, more 
importantly, the kindness of people. 

The article wouldn't have seen the light of day if 
not for some fellow enthusiasts who unselfishly shared 
their invaluable time, among them are — Justin G. 
Schiller of Kingston. NY, for his generosity, his wisdom 
and his wealth of information; Library Director Carol 
Sandler of the Strong Museum in Rochester, NY, for 
providing the Mary Young photocopies which started 
the ball rolling; and collector extraordinaire Betsy Slap 
of Merion Station, PA, for patiently answering all my 
questions regarding Emma C. McKean ? s paper dolls. 

Finally, aside from Robert Sabuda suggesting that 
the "U.S. census is an invaluable source of information 
regarding individual people, no matter where they 
lived," Frank A. Parker (after reading the article in 
Movable Stationery) sent me some additional advice: "I 
thought I'd pass on that telephone books (the phone 
companies have back issues ) . . . and city tax records 
are really good research sources, too." To all of you, 
thank you very much for all the help. 

And to all MBS members who intend to go on an 
"expedition"; research is hard work. Digging is fun. Opt 
for the latter. You'll get the same results anyway. 

[Editor's note: If anyone is interested doing research 
and preparing an article for publication, a list of over 50 
topics of interest to members has been collected and is 
available upon request.] 

Pop-ups in the News 

• Martha L. Carothers, who wrote the history of pop- 
up books for the "Brooklyn Pops Up" exhibition catalog, 
has contributed a chapter entitled "Novelty Books: 
Accent of Images and Words" to A Book of the Book: 
Some Works & Projections About the Book & Writing. 
The book, edited by Jerome Rothenberg and Steven Clay 
and is published by Granary Books, New York, 2000 
(ISBN 1887123288). It is a well illustrated work with 
several dozen essays. Martha's chapter is a history of 
movable books between i727and 1986. 

• The Movable Book Society is proud that Brooklyn 
Pops Up is included in Parade Magazine's (November 
1 9, 2000) "Gift Books: The Year's Best." "Pop-up books 

keep popping up all over, but this enchanting specimen 
is more adult-oriented than most. Cleverly designed 
pop-ups recreate everything from the Prospect Park 
merry-go-round to Coney Island. A free-standing 
Brooklyn Bridge floats magically across two pages. The 
text is concise but helpful. You won't have to be from 
Brooklyn to enjoy." 

Robert Sabuda's The Wonderful Wizard of Oz: A 
Commemorative Pop-up is also included in the annual 
list of top gift books. 

• "The Pop-up Book Picks Up Magical 
Dimensions," read the headline in the New York Times 
October 12, 2000. Author Anne Eisenberg wrote 
"Imagine a book coming to life as you read it: a 
samurai warrior from a children's tale suddenly leaping 
from the page, or ... an architect's drawing of a 
cathedral springing from the paper as a foot-high 
image. . . 

"These wonders are part of a device aptly named 
Magic Book that has software capable of bringing to 
life documents as lively as fairy tale books or as dry as 
geology guides. 

"Right now the headsets or handheld devices that 
viewers use to watch the show (actually liquid-crystal 
displays) are a bit awkward, and viewers are connected 
to the computer that does the image processing through 
lots of dangling wires. But as the components of 
wearable computers grow smaller and cheaper, as they 
surely will, the technology that makes the Magic Book 
possible may have many daily applications." 

"Magic Book is a lot like a pop-up book gone high 

• The Crafts Council of London is sponsoring an 
international survey exhibition spanning folding and 
construction techniques, as well as wet paper 
techniques, and covering sculpture to product design. It 
will look at the nature of paper as a material and its 
diversity of use. 

The exhibition will be shown at the Crafts Council 
Gallery during summer 2001, opening in June. There 
will be a catalog, which will be published by Merrell. 

Book artists making one-off or limited edition pop- 
ups are invited to contact Jane Thomas, Exhibitions 
Officer, for more information. Crafts Council, 44a 
Pentonville Road, Islington, London Nl 9BY. 

•" Jay Palefsky has a movable alphabet book shown 
at his web site: To see the 
book select morphicatalog, then morphibooks. then 

David Carter, continued from page 2 

it too obvious. Noelle and I were going out at that time. 
John Strejan is on there too. I put everyone's name on 
there. That was the first pop-up book I illustrated outside 
of Intervisual. 

K: So basically that book is all your art. 

D: Yes. I still have the artwork around here some place. 
What happened was Linda Zuckerman, who was hired 
from Viking, came to Intervisual and she gave me the 
job to do this book. She was also the first one who said 
let's have Dave do Goodnight Moon Room and What 's 
in the Cave? and What 's at the Beach?Then when she 
left the company, she went to go work for HarperCollins 
and gave us all this work. So Linda Zuckerman had this 
book and she hired John Strejan and me. That's how 
John and I did that book. 

K: She definitely belongs on your list of those people, 
starting with Miss Howard. 

D: Definitely. I did dedicate a book to Linda 
Zuckerman. One of the Bug Mini's. They are little pop- 
ups. One dedicated to Mark Chesire who was the editor 
at the time who bought these two first books. He later 
ended up becoming my agent and now we are just good 
friends. Another one is dedicated to Waldo Hunt. One is 
to Dave Pelham. 

K: You've worked with David and he's on the other side 
of the ocean. How can that happen? 

D: He would come over and spend months at 
Intervisual. He is one of those people who comes in and 
works on a project and surrounds himself with it. 1 just 
worked with him as one of the paper engineers. Jim 
Diaz was the creative director and he would have us do 
a lot of work with Pelham, who was a very first rate 
book designer. Someone who is so good and so 
professional that I learned a lot from the way he does 
things, from type design to thinking about why a pop-up 
is going to be. How you are using it and why you are 
using it. The whole thought process that goes into it. He 
is very much a perfectionist. Much more than 1 could 
ever be. 

K: Wbat was your first book as author, illustrator and 
paper engineer? 

D: That would be How Many Bugs in a Box?. 

K: Joanne Billowitz , a member of the Movable Book 
Society, knew you from the Convention. You were doing 

a signing in Virginia and she came over and there 
weren't very many people around, so she got to talk to 
you for quite awhile. 

D: That happens all the time where no one shows up to 
my book signing. 

K: She was my first customer. I met her at the Movable 
Book Society and we email all the time. We're friends. 
I asked her for a question to ask you. She does paper 
engineering herself for greeting cards and takes apart 
all your pop-ups. 

D: And that is how we learn too. 

K: From Joanne - "I do know that what 1 like best 
about his work is its clarity. The images and the pops 
go so well together that you get a wonderful effect from 
a simple design. The union of image and movement 
seems mystical and not so easy for me to grasp." 

D: That's what it's all about for me, finding that right 
combination. But I also include the words. 1 see three 
aspects to my books, and those are the words, the art 
and the movement of the pop-up. To me they all have 
to work well together. Sometimes it comes out better 
than other times, but I'm thinking about those things all 
the time. I sometimes start with the words, sometimes 
I start with the art and sometimes I start with the 
movement. I'll go through many, many combinations 
before I come up with what I think works right. On 
some projects, I will have art and movement that works, 
but the words don't work. If I can make them work, 
that's what goes in the book. If it doesn't work, it 
doesn't go in the book. I put it aside and say OK and I 
start over again. Even though I may love the movement 
and the art, I'm not going to use it. I have drawers full 
of combinations where two of the three worked. At least 
that is my goal. I think the books that work best are the 
ones where all those three aspects come together. 

K: Jingle Bugs is dedicated to Alan Benjamin who 

wrote Curious Critters, wh ich you, of course, i 1 1 ust rated 

and engineered. The 

thank you reads that 

Alan Benjam i n 

convinced you that 

there is a Santa Bug. 

There seems to be a 

story behind this 


D: A little one. It starts 

off at Simon & Schuster with the editor who bought 

How Many Bugs in a Box?, a woman named Grace 


Clark. Grace Clark has been in the publishing industry' 
for many years and Alan Benjamin was the art director 
working with her. Alan was involved with How Many 
Bugs in a Box'.' in the early stage and had a couple of 
editing concepts or changes. In the meantime, Grace left 
and Alan Benjamin took her job. Alan became the 
editor. The remaining bug books. More Bugs in a Box, 
Alpha Bugs, and Love Bugs, were all done while Alan 
was the editor. There was one point in there where 1 
didn't want to do the Santa Bug. I had another idea, the 
"Santa Slug." Alan said no, but can you please do Santa 
Bug. I said I wanted to do Santa Slug. I had a slug 
mechanic and it was Santa Slug, but he convinced me. 
So I dedicated the book to him because he was the editor 
and convinced me to do the Santa Bug instead of the 
Santa Slug. 

K: Collaborations. You've done the paper engineering 
for some very renowned illustrators including Barbara 
Cooney and Michael Foreman. Please tell us about the 
technical aspects of engineering other people's art that 
originally may not have been visualized by the artist in 
three dimensions. What special issues need to be solved? 

D: I will add one more, who is one of my favorites - 
Clement Hurd and then his son Thacher. 1 met Clement 
Hurd, which was a great thrill, and Thacher Hurd, who 
I worked with closely. I still see Thacher and we talk all 
the time. (Kate: David engineered Thacher s A Night in 

the Swamp.) Working 
with those people is a 
great experience because 
I am working with some 
of the best people in the 
business, watching and 
seeing how they think. 
But what actually 
happens and how that 
works is that we would 
send them the 
manuscript and drafts to 
have them start giving us 
some thoughts and asking them to do a rough pencil. I 
did The Night Before Christmas and Ben's Box with 
Michael Foreman. I would ask him "Here is the 
manuscript, can you give me some rough pencil"? He 
would give us drawings that were full sized and his 
thinking on it. Then I would sit down with it and if there 
was something I could do with it dimensionally, I would 
build it and work on it. If it wasn't working very well, 
we would go back to him and say "Mike that really isn't 
working, but if you did this instead.... What if we did a 
box that was flying in the air," or whatever. It is truly a 
collaboration, going back and forth until you have 
something that everyone is happy with. On Peter and 

the Wolf with Barbara Cooney, it was one of those 
projects where I didn't really ever have any direct 
contact with her. Her contact was mostly with John 
Strejan. John did the rough cutting on that book. On the 
Michael Foreman book, Ben's Box, David Pelham was 
very involved. David Pelham actually came back to us 
at one point with little small paper engineering things 
and it was my job to refine them, make them larger and 
make them work with Michael's art. It is another one of 
those cases where Jim Diaz was moving the book 
around a lot. Actually, it was Kees Moerbeek who first 
worked on this book. Kees Moerbeek was going to be 
the paper engineer, along with David Pelham as the 
designer and Michael Foreman doing the illustrations. 
They came up with an entire book that had six spreads, 
each of which was divided into two parts. On one side 
was the reality part of what Ben was thinking. On the 
other side was the fantasy part of what Ben was 
thinking. They did the entire book this way. David 
Pelham, the designer, then said this isn't working. 
Then Jim (Diaz) put me on the Ben 's Box project and 
asked me to try it. Basically, my input in this book is 
dealing with Ben in his real world as flat art and his 
fantasy as the pop-up. Instead of trying to divide one 
spread into both the real world and the fantasy world. 
it has a flat spread and then a pop-up spread. They 
agreed to do that. David Pelham did these little roughs 
and sent them to me. I worked them out, did the 
refining part, made them larger. Then Michael 
Foreman came over and I said "Here is the piece 
Michael, draw on it." And he would draw on it. In the 
finished book, only the third spread has a divider in the 
center with the pop-up reality on one side and the pop- 
up fantasy on the other. That's what's left of the 
original format. 

K. Was the first bug book How Many Bugs In A Box"? 

D: No. The first bug book was Add One. Learning Fun 
with a movable bug. 

K: We are looking at a board book that has flaps. It has 
lift ups. It is a math book and has a string that runs 
through it with a little piece on a string. 

D: This is the first time I used interesting, fun words 
with these unusually designed, colored bugs. One 
yellow, spotted, purple bug added to red headed, green 

K: Add One was produced by 

.who was the 

D: This was never published. This was the comp that I 
started off with and tried to show to the publishers that 

1 I 

nobody bought. We came back and the people who were 
selling, people at Intervisual, said no one is interested in 
this book. So we had a creative meeting between Jim 
Diaz, John Strejan and myself and came up with How 
Many Bugs In A Box? It happened so quickly. I think it 
was John Strejan who said how about bugs in a box and 
1 said it's a counting book. Jim Diaz then said the title is 
"How Many Bugs In A Box?" and I said OK, I'm going 
to go do it. That's how it happened, just like that. It was 
that fast and it was so crystal clear at that point. I sat 
down and started developing the book. 

K: Add One is a counting book also? 

D: It's really an addition book. The idea was to have two 
different books. One is called Add One. The other was 
Take Away and was going to be a spider book. You 
would take away spiders until you had no more spiders 
at the end. With Add One, you would go through the 
book and have 2, 3, 4 all the way up until 10. Then you 
would have 10 caterpillars and on the last spread you 
would open it up and all the caterpillars turned into 
butterflies. I still think it is a good idea. As far as 
working with some of the other authors and illustrators, 
it varied. But it was always really interesting to be able 
to do some paper engineering and then get this 
incredible artwork. One of my favorite books was a book 
that was never published in the U.S. It was a book by 
Victor Ambrus, published in Europe, called The Jungle 
Book. Victor Ambrus is a British illustrator who does 
absolutely beautiful work. It was great to work with 
those people. Here I was, a paper engineer who wanted 
to be an illustrator and I thought I knew a lot about 
illustration. Then I started to see the illustration come in 
and it was top notch stuff. 

K: We covered Thacher Hurd and Jan Pierikowski. Let's 
talk about your collaboration with paper engineers. I'd 
like to look at Peter and the Wolf with you. Your said 
that you didn't actually have contact with Barbara 
Cooney, but that John Strejan did the rough and he 
communicated with her. Is this basically his paper 
engineering that you refined? 

D: Yes. This is mostly John's work. 

K: Grandfather shaking his finger in Peter and the Wolf 
is to me one of the most amazing pieces of engineering 
I have ever seen. You can get the best action. He has 
used an offset box and it is very sturdy. The action is 
like puppetry. 

D: You put your finger up through the box and you 
move this little piece back and forth. That is John 
Strejan's work. I just noticed in a new Simon & Schuster 

catalog there is a part for the Brooklyn Library. I did a 
pop-up piece in it and Robert Sabuda directed it. It has 
this movable on the cover and as soon as I saw it I said 
"Well, there is John again." There is John's influence. 
John has done so many different things that never made 
it into a book —just things that he would plop down on 
someone's desk and have them take a look at. I think 
the fun movable cover for The Genius of Lothar 
Meggandorfer was his. But I could be wrong. It could 
be Jim Diaz' or Tor's too. Genius of Lothar 
Meggerdorfer was a book that was designed by David 
Pelham to show off what Meggendorfer had done. The 
movables inside are all by Lothar Meggendorfer, taken 
from different books. It's like the best of Lothar 
Meggendorfer. I don't know for sure if John did the 
cover, but John would come in with stuff like this 
constantly. He did the suit of Michael Jackson, where 
you would move around this little piece and you could 
make him dance. All different positions just came alive. 
When John's name is first on the book, that means he 
did the rough cut paper engineering and the second 
name on the book is the person who then refined it and 
made it happen. 

K: You also worked with Tor Lokvig, refining his 

D: Sometimes also the other way around. Later on at 
Intervisual it got to the point where I would, as the art 
director, do some rough cutting and give it to Tor to 
refine. To me, that is Tor's specialty. He takes what 
could be complicated paper engineering and does a 
beautiful job of simplifying it so that it works. He has a 
very mechanical mind. He builds things. He builds 
decks, homes and buildings and does a beautiful job of 
refining them -smoothly and cleanly and manufactured 
very well. He also does good rough cut paper 
engineering. But to me, what he does best is refining a 
book and making it work just perfectly. In the years 
when I was at Intervisual, I didn't very often do much 
refining work on Tor's books. He worked on his own 
books and did everything on them. But later on, as I 
said, I would hand the job over to him once it had been 
rough cut and Tor would refine it. Tor was always an 
outside person. He was a freelancer. I worked mostly 
with John (Strejan) and Jim (Diaz) in house. 

K: How did you meet Noelle Lokvig? 

D: She was working at Intervisual. She was an 
employee and she worked in the art department. We 
became friends and knew each other for a couple of 
years before we started dating. She had studied art in 
college, so she had an art background. Even before she 
started working there, she knew Chuck (Murphy), she 


knew the Hunt Family and had done some work for 
Chuck on the side where they painted the cells for the 
Chuckle's and Rickey books. Chuck's series of "learn- 
abouts," circa 197°-1 Q S5. She eventually went to work 
for Intervisual. 

K: You and Noelle have collaborated on a series of 
books. What is that series? 

D: It's / 'm a Little Mouse. Peek-A-Boo Little Mouse and 
Merry Christmas Little Mouse. It was Noelle's idea and 
she wrote them and I did the illustrations. There were 
three books in that series. Now we are in the process of 
redoing I'm a Little Mouse in a large format. And there 
is a possibility of doing one in a small format. This book 
is very popular in France. The French have kept it in 
print. There is also The Nutcracker which is by David 
and Noelle Carter. 

K: I've never seen The Nutcracker before. 

D: This is the new fall 
book. It's in production 

1 right now. It's wrapped up. 

i I sent the last corrections 
on Monday or Tuesday. It's 
large. It's the two of us 

K: What did Noelle do on The Nutcracker^ 

D: Noelle rewrote and did the editing on Tlie 
Nutcracker. As you know, it's very, very long. Then we 
talked a lot about concepts in the same way Jim Diaz 
and I talked about what would happen on other books. 
There is so much so you have to do to take this small 
novel and break it into eight spreads and decide what is 
going to happen on those eight spreads. 

K: Should we talk now about Dick Dudley or Jim 

K: It must have been a wonderful part of your career to 
work with all of the people at Intervisual. 

D: It realK was. I sort of see it as a Hallmark influence 
at Intervisual because when Wally Hunt started this 
company it was Graphics International. He was in New 
York City and did a lot of advertising, point of purchase 
pop-ups. You see some of his old advertising pieces for 
soup companies. Then he did some books for Random 
House, pop-up books, like Chitty Chitty Bang Bang and 
the whole Random House series. I am not certain if this 
is exactly how the history goes, but then the company 
was purchased by Hallmark who moved the company to 
Kansas City. It could be the other way around; it could 
be they went to New York after Kansas City — I'm not 
certain. There was a big influence from Kansas City 
and that's where they picked up Arnold Shapiro who 
worked at Hallmark. Pete Seymour and Dick Dudley 
also came from Hallmark. They did the series of pop-up 
books at Hallmark and then at some point Wally either 
bought the company back or they just started a new 
company, which was Intervisual, and that's when they 
moved it to Los Angeles. When they moved to Los 
Angeles, Arnold Shapiro came along (I think -- this is 
before my time) and Pete Seymour came along. A few 
years after that Dick came from Hallmark and went to 
work for Intervisual. So there is a big Hallmark 
influence. Arnold, Pete and Dick were all ex-Hallmark 

K: Besides the two journey books, Journey to Egypt 
and Journey to Japan, did you do anything else with 

D: I am sure there were a variety of books where Jim 
Diaz would mix things up. They were UNICEF books 
and, if I'm not mistaken, I think it was the UNICEF 
books that led to the National Geographic Books. 
National Geographic either saw the UNICEF books and 
got the idea for their books or Intervisual used the 
UNICEF books to show to National Geographic. 

D: Well, I've known Jim Deesing much longer than I 
knew Dick Dudley. In fact, Dick Dudley was at 
Intervisual for only a short time before he actually left. 

K: But you did work with him on the journeys to Egypt 
and Japan pop-up books. 

K: You said Jim Deesing goes back quite a ways with 
you. How old were you when you met him? 

D: I was in my junior year of high school after the car 
accident when I went to the high school workshop and 
met Jim Deesing. 

D: Yes, that's right. To me it was a very short time 
because Dick Dudley came after I had worked for 
Intervisual for a while and he worked on staff for a 
couple of years. Linda Zuckerman was there for a short 
time too and then she left. 

K: Is that the workshop between junior and senior high 
school years at Utah State University in Logan? 

D: Yes. I became good friends with Jim Deesing. There 
was a whole crowd of us. There was Jim Deesing and 


Rick Morrison, whose name you see on books. He 
became a paper engineer too. In fact, he helped me with 
The Nutcracker. We've been friends for a long time. Jim 
Deesing was one of the first people to go to Los Angeles 
out of that group and he made it big. He did some of the 
early television promotions for CBS, doing really well as 
a brilliant airbrush artist. We lived in Los Angeles for 
years and were all friends and partied together. Then 
Jim left and went back to Utah, where he lived for a 
couple of years. In the interim, I got the job at 
Intervisual. Wally Hunt has a daughter named Kimberly 
and Noelle had known her from the time that she was 
quite young. We were all wild. Jim came to visit a 
couple of times and Noelle said we have to line him up 
with Kimberly. So we did and that was it. Kim and Jim 
got married and they have two kids. Jim married Wally's 
daughter and he later went to work for Intervisual. 

K: Is that where he is now? 

D: That's where he is now. He's a designer at 
Intervisual and he oversees the books. He's done some 
nice books. He did the Harley-Davidson pop-up book 
and they are doing The Wizard of Oz based on the 
movie, using movie images. It was Jim who was the 
pioneer in the computer end of our business and he 
taught me a lot about using a computer. He was the first 
one of us who started dealing with the digital world, 
which 1 think is going to be very influential in the 
future, especially when we print directly from digital 
files with no film. It really changes the way things are 
done. Changes publishing. 

K: In 1985 you collaborated with David Pelham on The 
Universe, and I now understand how that can be even 
though he is from England. The dedication on that book 
was to Waldo Henley Hunt and the acknowledgment was 
that he was a multidimensional man. 

D: That is David Pelham's acknowledgment. The 
Universe is David Pelham's book, but my name is on it 
because I helped. That was one of the cases where David 
Pelham came into town and Jim Diaz and I did paper 
engineering on it. David Rosendale did paper 
engineering on it and Rick Morrison did some. 
Everybody did a lot of work on it. The paper engineering 
on that book is pretty amazing. I think 1 handled getting 
the book finished. 

K: The people you collaborated with were Tor Lokvig, 
David Pelham, Dick Dudley, John Strejan and Jim Diaz? 

D: Keith Moseley too. 

Part 3 of this interview will appear in the February issue. 

Dear Diary, continued from page 1 

he points out, were generous with their musical 
attributions. Adie's movables range from a Schubert 
Piano business card from 1 892 to a flip book of Bart 
Simpson with a CD. No category of music is left 
without a pop-up memento. Broadway is represented by 
Irving Berlin's pop-up program from "The Music Box 
Revue" ( 1 922), The Phantom of the Opera pop-up book 
(1988), and even Joe Camel, now banished, makes a 
cameo appearance in a print ad for Ticketron with 
tickets to Broadway shows. Jazz has a press kit for "Left 
of Cool" and a 1965 Gerry Mulligan album with a 
pop-up record jacket. Rock is embodied in Van der 
Meer's, Rock Pack and Led Zeppelin's "Stairway to 
Heaven" ( 1 992) and an "Elvis is King" souvenir card 
from 1983 engineered by lb Penick. Music lends itself 
to multi-media and Adie's collection boasts record 
jackets and CD cases with pulsating lights, clocks, 
thumb handcuffs (!!?), and shapes - a coffin 
(Megadeath's "Rest in Peace") and police badges 
(Police). There is no question this all is just the tip of 
the iceberg. Adie also touched on a Hallmark series and 
many Disney titles both with records inside. "Collector 
Friendly" my foot! ! ! ! 

10:00 a.m. Our First Break 
Dear Diary, 

With a cup of coffee waking me up, I plunge into the 
crowds of happy collectors. Little did I know I would 
come face-to-face with "The Enemy." Several people 
had put their e-mail addresses on their name tags, the 
sight of which gave me a chill. Here I was meeting the 
dreaded "Sudspoth,""Pherley," and "MariaPW," those 
pirates who plunder my treasures off Ebay. I had 
imagined these "blackhearts" with smirking faces and 
multiple hands sporting rapidly moving fingers, not to 
mention dollar signs swirling in beady eyes. But, no, 
here they were as genuinely friendly and eager to meet 
each other as long-time pen-pals. I so wanted to spend 
time together to swap tales of woe or of glories and 
gain. But, alas, I was called away and lost the 
opportunity. What a great "reunion" it would have 
been. I hope the chance presents itself again. 

10:30 a.m. 
Dear Diary, 

I was very eager to meet Kees Moerbeek who had come 
all the way from the Netherlands. Looking lean, 
youthful and prematurely gray (too many glue points?), 
I was anxious to hear from the paper engineer whose 
interpretation of Pienkowski's Haunted House had 
sexual innuendoes. Kees gave us a window into how he 
makes pop-up books using his new Spooky Scrapbook 
as an example. Scrapbook is filled with pull-outs, 
gatefolds and flaps. So much so, it took him three 


months just to get everything to fit into the book. He sees 
the pop-up book as "organized chaos" and looks to 
introduce the 'iinexpected" into his works. Scrapbook is 
about a birthday party for a vampire child. What may 


Kees Moerbeek with The First Christmas (2000) 

account for its comfortable reality are the costumes he 
found in a 19 th century book of fashion, the pattern for 
the china coming from his parents' "good dishes," and 
the use of actual dead flies which were scanned into the 
computer. With slides, he walked us through his initial 
pencil drawings which he then moves to the computer, 
adding color. All the artwork then can be put onto CDs 
easing his work with foreign publishers and printers. 
Kees always makes 3D models crediting the computer 
with his ability to easily make more dummies. Working 
on as many as three projects as once, all of them 
"dimensional," Kees avows to only make books he likes. 
When no ideas are forthcoming, he looks to his 
childhood, especially birthdays, where there was 
excitement and surprise. He credits his earliest influence 
to a single-spread Cinderella he saw when he was 4 
years old. Now, with Carla Dijs as an able partner, Kees 
maintains he still learns by doing. The new Christmas 
book he shared with us showed he continues to learn 

12:00 p.m. Lunch 
Dear Diary, 

As is usually the case at an MBS convention, 1 am so 
excited I can hardly eat. At my table, in speaking of the 
state of paper engineering, Kate Sterling credits The 
Elements ofPop-ups by David Carter with giving us a 
"language." Bruce Foster shares with us his necessary 
"destruction" of Moerbeek's books in order to learn from 
them and the inspiration Hot Pursuit was in his 
professional life. With Biruta Hansen, we probed the 
differences between Japanese origami and pop-ups. 
These two paper engineers put it elegantly. Bruce sees 

pop-ups as European fountains with the energy being 
forced to make the water go up; Biruta says origami 
allows the folds to happen without energy (or glue) like 
naturally falling water. 

Dear Diary, 

1 am more refreshed, and none too soon since we will 
now hear of the manic and prolific work of Andy 
Baron. Andy remains the "Wunderkind" and a stickler 
for detail. He maintains, "[There is] no such thing as a 
job you can't do," a credo he refined as a youngster 
repairing old clocks and juke boxes. Using his newest 
pop-up book, The Hobbit, his slides showed the various 
stages of its production including the nesting sheets 
which he says are made "like packing a suitcase." Andy 
pointed out that in the production process books change 
and are continually refined by the printer. Robert 
Sabuda could be seen nodding his head in agreement. 
What came next was nothing less than a cornucopia of 
complicated movables Andy is working on and hopes to 
have published. There is the digital clock which moves 
so that the time is simultaneously told digitally and 
with hands and words. Something akin to a 
Meggendorfer is the spread made from an original 
drawing by Rube Goldberg. One lever produces all the 
manifold actions of the spread. If the high cost of using 
the Goldberg artwork can be overcome, this will be an 
exciting book. Rube Goldberg couldn't have a better 

2:30p.m. Break 

Dear Diary, 

I wish I weren't such a compulsive collector! I should 

be catching my breath here and engaging in 

comfortable chit chat with others. But noooooooooooo! 

1 have to get the many books I've brought signed. I 

need a computer just to keep track! 

Andy Baron with his "Cat in the Hat" design 


In addition, 1 am running about on the lookout for 
Professor Gingerich who will speak tonight at the 
Brooklyn Public Library's reception for the Movable 
Book Society. 

2:45 p.m. 
Dear Diary, 

We were all hushed waiting for Robert Sabuda's 
presentation of the making of Brooklyn Pops Up. the 
exhibition's catalog. Since I had accompanied Robert to 
Ecuador (see, "My Trip to Mecca," MBS, August 2000), 
I was anxious to view the experience from his vantage 
point. My understanding of paper engineering and all its 
facets is greatiy expanded by sitting at the feet of the 
pros. Now my fellow collectors would have that same 
benefit. It turned out that the Brooklyn Pops Up catalog, 
a collaborative effort of artists and paper engineers, a 
first in itself, created many firsts for Robert. The biggest 
was his having to review someone else's work for a 
project, dealing with not only different styles but 
different technical approaches as well. Biruta is from the 
"old school" putting die lines on vellum by hand. Her 
palate became the "color guide" for the whole project. 
The use of computer disks was also new for Robert. He 
was able to see how color is more exactly translated with 
the computer. Not usually having to play "the heavy." 
Robert had to send Ken Wilson-Max's artwork back 
when it was noticed that Ken had introduced a peacock 
into the Botanical Garden. There isn't one! Moerbeek's 
and Dijs' artwork was returned because the eggcream 
was drawn in a bottle. Eggcreams are fountain drinks 
served frothy in a glass. (There are no eggs in 
eggcreams, by the way.) When Robert marveled at all 
the people on the Coney Island beach. Chuck Murphy 
told him, "1 got carried away." Even the venerable 
Maurice Sendak had a first - beside this being his first 
pop-up. He had to draw the body parts separately for his 
cover illustration in order for Robert to re-articulate 
them and make them move. A statistic which still has 
me scratching my head is that the production cost of 
pop-up books is generally one-fifth of the retail cost! 
That's a lot of advertising and distributing and profit?! 
Robert's slides graphically added to the sequence of the 
catalog assembly. It still boggles the mind that all these 
books are hand-assembled and the catalog sells for under 

3:30 p.m. 
Dear Diary, 

1 am so relieved that Dr. Gingerich arrived early in 
Robert's lecture, especially because the Professor was to 
give introductory remarks before he made his slide 
presentation at the Library. Timing was crucial since 
immediately following his talk, we were to take a bus to 
the Brooklyn Public Library to see the exhibition. Dr. 

Ellen Rubin and Owen Gingerich 

Gingerich, white-haired with intense blue eyes and 
apple-red lips around an elfin grin, sported a 
book-covered tie. With the experience of a seasoned 
Harvard professor (over 30 years), he took command of 
the subject and walked us through the history of 
movable books 
in the Renaissance, 
his specialty. 
The leaf from 
Caesarum ( 1 540) 
which he had 
loaned to the 
exhibition was 
the most complex 
one in the hand- 
made, hand- 
colored book made 
for Charles V. 

There may have been as many as 1 50 copies produced. 
Having seen six copies. Professor Gingerich believes 
the Astronomicum was published with a German 
handbook. The leaf in the exhibition is of the moons of 
Mercury and significantly, was both an instructional 
tool as well as an instrument itself. Mostly printed on 
rag-paper, many books of this kind were sold with 
uncut volvelles which the purchaser cut and put 
together. Often strings held the volvelles in place with 
pearls being used occasionally to serve as markers. 
Most pearls are gone today, having dried out with age. 
In 1967 in Leipzig, a facsimile was made of the 
Astronomicum. With all of today's technical know-how, 
the volvelles were woefully inaccurate, and Dr. 
Gingerich was enlisted to correct them. With our 
appetites sufficiently wet, we then were off to the 

5:00 p.m. 
Dear Diary, 

On the bus, our members seemed like a combination of 
campers and sightseers. 1 desperately tried to "see" 
through the eyes of some members who experienced the 
magnificent New York skyline for the first time, 
crossing the East River on the Manhattan Bridge with 
the Brooklyn Bridge to the right and the Statue of 
Liberty beyond. Some members were so immersed in 
conversation I had to shout for them to look up and see 
the sights. I played travel guide to try to rid my stomach 
of butterflies. Will our members like the exhibition or 
yawn a "I've-seen-this-all-before" yawn? We lined up 
outside the Library under the huge banner proclaiming, 
■■Brooklyn Pops Up!," while local youths break-danced 
and mugged for the cameras. My husband, Harold, 
graciously lined up everyone's cameras to take the shot 


while Dr. Gingerich muttered something about focal 
distance and wide-angle capacity. We knew it wouldn't 
be perfect but we all wanted to have a memento of our 
coming together. My memory of the reception is a big 
haze. Wbile trying to get the Library staff to attend to 
Dr. Gingerich's slides, I did notice broad grins, hear 
"oohs" and "aahs," and just got to smell the wonderfully 
presented canapes which sailed under my nose. There 
was no way any food was getting down my gullet and 1 
didn't want a lump in my throat for the evening. Later, 
after the director of the library, Martin Gomez, and I 
gave welcoming remarks, we went up to the auditorium 
to hear Professor Gingerich's presentation. He got our 
attention by speaking in Old English, the language of 
Chaucer, who reportedly made books with volvelles. 
With great detail and a clear love for the subject. Dr. 
Gingerich showed us astronomical books from the 16th 
century, telling us how they were made and for whom. 
I was too tired for note-taking, never even brought my 
pad. Forgive me. Dear Diary. I am happy to be among 
friends and see them enjoy the fruits of our labors. 

9:00 a.m. Saturday, September 23, 
Dear Diary, 

Nothing like a night's sleep. The program was begun 
with two very different book artists, Lois Morrison and 
Debra Weier. For Ms. Morrison, pop-ups are not the 
focus of her art. She "doesn't play with mechanical 
forms." The message is her focus and towards that end, 
she uses pop-ups and other three-dimensional devices. 
Her book, Endangered Species, is an example of her 
outrage at the fate of Chinese girls. Limited edition 
books, peep shows, and even mechanical dolls, express 
her "flights of fancy and imagination." By being her 
own producer, she can be "self-indulgent," keeping the 
process "entirely in [her] own hands." 

Ms. Weier, in 
contrast, uses books 
as her form to 
convey 'lime and 
elements]." Using 
large format 
panoramas with 
multiple sculptural 
elements, something 
akin to brightly 
colored spikes, 
Debra "moves 
through the 
landscape without 
interruption" as she 
did with a book 
interpreting a poem 
by Pablo Neruda. 

1111 Ite" 1 

Pamela Pease with mock-up 

11:00 a.m. 
Dear Diary; 

Pam Pease, tall, elegant, model-like, had to overcome 
the animosity of the women in the crowd to get her 
point across. Pam made the mistake of starting out by 
telling us she had begun her career as a swimsuit 
designer, the most dreaded of women's apparel. (Those 
of us who have hidden in changing rooms, glowered.) 
But her sunny, self-deprecating delivery, and clear 
tenacity in achieving her ends overcame all first 
impressions. Pam Pease became my idol. She self- 
published her work, 
Tfie Garden Is Open, 
which celebrated two 
elderly neighbors 
who tended their 
garden for the 
enjoyment of all 
around. They 
worked "for the 
sheer beauty of it," 
Pam told us. A 
newspaper in Chapel 
Hill, N.C. picked up 
th e story ofher book 
and the project 
mushroomed. In her 
studio, using an 
Apple Power 
Macintosh 8600 
computer, Apple 
Color One scanner, and an Epson color printer 3000, 
she scanned her artwork into Adobe PhotoShop 
creating her first edition of 50 copies and the next 200 
copies ordered as a result of the newspaper article. The 
pop-ups were all done by hand, and were "Smythe" 
sewn by a library binder. To date, she has sold 3000 
copies which are now printed professionally at a local 
offset printer. Initially at the steep end of the learning 
curve of publishing, Pam made many mistakes but 
learned from them. The distribution ofher books was 
the greatest challenge and the ink to print them the 
costliest item. The Garden Is Open is in its 3rd 
printing. All who thought self-publishing is the easy 
way to go were given much to think about but not 

1 1 :30 a.m. Lunch Break 
Dear Diary; 

There is a street fair outside our hotel and I've gone out 
to get a snack. Several MBS members are going to the 
Chelsea area of Manhattan to see an exhibition by a 
Dutch book artist, Sojoerd Hofstra, whose work I have 
been following and recommend. I hope to get there 
another time. During this break, book dealers are 

Joanne Page 


setting up in the next room, and we are warned we must 
wait. Many noses are pushed through cracks in the 

1:00 p.m. 
Dear Diary; 

Our final formal lecture is not formal at all. Sitting at 
long tables, we are provided copies of David Carter's, 
Bugs in Space, all "'uniformly destroyed" by Joanne Page 
who shows us how to repair them. On our desks are 
instructions, an envelope with mylar, a paper clip, 
Japanese and 2-pIy Bristol paper, and Q-tips to apply 
glue. We share the glue on the desk as we did in 
kindergarten. Joanne cautions us that "all repairs should 
be reversible" and glue should be applied sparingly. We 
are given permission to slit the fore edge of a page to get 
to the torn mechanism inside, use the mylar to prevent 
glue from sticking in the wrong places, reglue detached 
tabs, and use mending paper to rejoin torn edges. Do we 
dare do this at home? We've been given the basic tools 
and the rest is up to us. 

At work on Repairs 

2:30 p.m. 
Dear Diary; 

What follows the workshop is an "orderly" free-for-all. 
Doors at one end of the room are opened (after the work 
tables are moved to the edges) allowing access to the 
book dealers and giving the paper engineers (Robert 
Sabuda, Biruta Hansen, Bruce Foster, Ken Wilson- Max. 
Kees Moerbeek, Carla Dijs, Linda Costello, Andy 
Baron) room to sign their books. The fastest, longest 
lines form for Moerbeek and Dijs who have clearly been 
this route before. One must line up for Carla and then 
pass the books on which they collaborated to Kees. They 
are patient and happily discuss their books. Robert not 
only signs his books but also the poster he designed for 
New York is Book Country which includes a pop-up 
book, of course! The room becomes raucous but good 
cheer is in the air. The camaraderie among the paper 

engineers is delightful to observe. 1 feel sort of maternal 
watching my "children" get along so well. What did I 
expect? There could have been enmity, jealously and 
attitude. But there are no divas here, just a fellowship 
of artists. 

My suitcase of books is out of control. What a 

7:00 p.m. !!!!! 

Dear Diary; 

This good time is killing me!! I've just come back to 

my room and need to be dressed and fresh (!) by 

7:30p.m. It's raining and Harold has had difficulty 

getting here but he does. My Rock! Feet up for 15 

minutes will have to do. 

7:30 p.m. 
Dear Diary; 

Everyone is settled in and chatting at their respective 
tables, the room elegant and alive. Harold and 1 take 
our seats and dive into the conversation. The paper 
engineers have apportioned themselves among the 
tables much like the guests of honor they are. With 
what seemed like lightening speed, dinner is over and 
Ann Montanaro is at the podium to give the keynote 
speech. After, it will be my role to describe the 
Meggendorfer Prize and present it. It! ! ! ! ! I left it in my 
room, a victim of my fatigue. Giving Ann a sign, 
hoping she sees me and will slow the program, I race 
upstairs. As I re-enter the ballroom breathless with a 
towel-covered pizza box, Robert greets me at the door. 
"You missed the gift!," he half-cries. Our dear friends, 
members of MBS, had given Ann, Robert and myself a 
present with many a "Thank you" and I had missed it! 
Harold accepted the gift in my place. 1 had pulled a 
Christine Lahti. (She missed receiving her Emmy while 
in the ladies' room.) 

It was now Ann 
Montanaro's turn to 
thank Roy Dicks for 
his hard work and 
successful production 
of the convention's 
program, all the paper 
engineers who had 
contributed to the 
exhibition's catalog, 
and Martha 
Carothers who had 
written a wonderful 
history of pop-ups for 

the catalog. Ann next gave us an overview of the state 
of pop-up publishing today. In compiling her 
Bibliography 2000, she had been able to graph the 

Roy Dicks and Frank Gagliardi 

production of pop-ups over time. There was a steady 
increase of titles in the 1900s with almost a doubling of 
books in each decade beginning with 237 in thel960s. 
By 1997, almost 2000 titles were produced. Since then, 
the number of titles have been down except for the more 
complex books. Ann maintains that those numbers will 
continue to decline. Complex books will be supported by 
collectors like ourselves. But, our leader believes, pop-up 
books are here to stay. Whew! 

Finally, we came to the very end of our program. Dear 
Diary, I was so excited to be given the privilege of 
presenting an award. Ann announced that for the first 
time we were to bestow a MBS Lifetime Achievement 
Award, and, without question, the recipient was to be 
Waldo Hunt of Intervisual, the man credited with 
ushering in the Second Golden Age of Pop-ups. In 
Wally's unfortunate absence, the Award was accepted by 
Jerry Harrison who had worked in the late '60s and early 
"70s with Wally at Graphics International, Wally's first 
company. Mr. Harrison forthrightly spoke about the 
state of publishing at that time, and at Wally's behest, 
donated to the Movable Book Society archives copies of 
Andy Warhol's Index Book and the first edition of 
Bennett Cerf's Pop-up Riddles "Presented by Instant 
Maxwell House Coffee, A Random House Book," 1985. 
Wally would have enjoyed the accolades and the 
beautifully etched glass bookends. 

Marsha Apgood Presenting Lifetime Achievement 
Award to Waldo Hunt at Intervisual Offices 

After my explaining that the Second Meggendorfer 
Prize was unanimously chosen by the membership from 
the vetted list of titles. I announced the winner to be 
Robert Sabuda for his book, Cookie Count. Since the 
official award was not ready, Robert was given a 

pizza-sized chocolate chip cookie with "Second 
Meggendorfer Prize" written on it. Without much 
fanfare, he warmly accepted the award and promptly 
cut it up and served it to all present. Hearty 
"Congratulations!" and "Yum! yum!" could be heard 
throughout the room. What a great way to end the 
convention with a sweet taste in our mouths. 

Robert Sabuda enjoying the 
edible Meggendorfer Prize 

A special thank you to the paper engineers who 
shared with conference-goers (and each other) their 
knowledge, talent, skill, and enthusiasm. 

The Conference Paper Engineers 

Front row: Bruce Foster, Kees Moerbeek. Andy Baron. 

Back row: Biruta Hansen. Carla Dijs. Matthew Reinhart. 

Robert Sabuda. Ken Wilson-Max 



Q. I am searching for a pop-up book from my childhood 
that was probably published before 1945. 1 do not have the 
title but my memory has held on to some highlights of the 
book. It had a hard cover and the story focused around farm 
life. The colors in the book were soft. I remember one page 
with a boy jumping or diving into the water and the image 
is raised off the page. I would like to identify this book so 
I can purchase it. Thanks. 


Catalogs Received 

Aleph-Bet Books. Catalogue 64. 218 Waters Edge, 
Valley Cottage, NY 10989. Phone: 914-268-7410. Fax: 
914-268-5942. Email: 

Harold M. Burstein & Co. Catalogue 182. 36 Riverside 
Drive. Waltham, MA 02453-2410. Phone: 781-893-7974. 
Fax: 781-893-5743. Email: 

Page Books. Catalog 13. 117 Danville Pike, Hillsboro, 
OH 45133. Phone: 937-840-0991. Email: 
pagebooks@aol .com 

Jo Ann Reisler, Ltd. Catalogue 52. 360 Glyndon St., NE, 
Vienna VA. Phone:703-938-2967. Fax: 703-938-9057. 

Henry Sotheran Limited. Catalogue 1047. 2 Sackville St. 
Piccadilly, London W1X2DP. Phone: 0171 439 6151. 
Fax: 0171 434 2019. 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or advertising. 
All titles include pop-ups unless otherwise identified. 

10 Little Monsters: A Counting Book. Kingfisher. 714 x 
TA. 10 spreads. $10.95. 0-7534-0452-4. 

Alice's Pop-up Wonderland. Nick Denchfield. London, 
Macmillan Children's Books. 12 pages. 23 cm. £14.99. 

Farmyard Fun. A Happy Snappy Book. Millbrook Press. 
4 x 5". 5 spreads. $4.95. 0-7613-1427-x. 
Also: Jolly Jungle. 0-7613-1425-3. 
Pet Parade. 0-76 1 3- 1 428-8. 
Zany Zoo. 0-7613-1427-x. 

Halloween Costumes. [Rotating Wheels]. Grosset & 

Dunlap. 6" x 6". 12 pages. $4.99. 0-448-41991-2. 

Also: Halloween Shapes. 

Pop-up safari. Nick Denchfield. London, Macmillan's 

Children's Books. 20 pages. £14.99. 


Robert Crowther 's Amazing Pop-up House of 
Inventions: Hundreds of Fabulous Facts About Where 
You Live. Candlewick Press. 12 pages. $14.99. 

The Scared Little Bear: A Not-Too-Scary Pop-up Book. 
By Keith Faulkner. Orchard Books. 10" x 10". 12 
spreads. $9.95. 0-531-30267-9. 

Tlie Secret Fairy Boutique. By Penny Dann. Orchard 
Books. 14 pages. Orchard Books. 6" x 8". $14.95. 0- 

The Tickle Book: With Pop-up Surprises. By Ian 
Whybrow. London, Macmillan's Children's Books, 
2000. 12 pages. 9"x 9". 

Truck Jam. By Paul Strickland. Ragged Bear. $16.95. 9 
x 11". 7 pages. 1-9299-2703-7. 

Note: A Treasury of Cats, published by Andrews and 
McMeel. originally announced as being published in 
2000 will be issued in 2001. 

Conference Photograph 

Those who want a copy of the group panoramic photo 
taken outside the Brooklyn Public Library may send $4.00 
to Ellen G.K. Rubin, 66 Lockwood Road, Scarsdale, New 
York 10583. You may choose either photo A - Group 
photo with banner Brooklyn Pops Up! visible but small 
MBS members or B - No banner but MBS members more 
discernible. If no choice is given, photo B will be sent. 
Orders will be sent after all requests are received. 


to I